UK/European Co-productions: A Model for Creativity (version I)

Huw David Jones; Andrew Douglas Higson

UK/European Co-productions: A Model for Creativity (version I)

Theatre, Film, TV and Interactive Media

Research output: Contribution to conference › Paper › peer-review

Abstract

Since the late 1980s European policymakers have developed schemes to encourage co-productions between European states (e.g. MEDIA, Eurimages). Yet, as with other policies designed to foster European cooperation, UK involvement has been somewhat ambivalent. On the one hand, Britain is a signatory to the European Convention on Cinematographic Co-production. On the other, it withdrew from the Eurimages programme in 1996. Most UK co-productions involve US partners. This paper examines some recent examples of UK-led co-productions with other European countries. It investigates the different kinds of European co-productions UK filmmakers have been involved with, how well these films travel abroad, and how they are consumed by audiences in different countries. It also briefly considers the way in which these films represent other Europeans, drawing on examples such as Tinker Tailor Solider Spy (2011). The paper aims to provide insight into the creative possibilities of UK co-production with the rest of Europe.

Original language	English
Number of pages	11
Publication status	Published - 19 Jun 2014
Event	NECS Conference - Università Cattolica del Sacro Cuore, Milan, Italy Duration: 19 Jun 2014 → 21 Jun 2014

Conference

Conference	NECS Conference
Country/Territory	Italy
City	Milan
Period	19/06/14 → 21/06/14

Access to Document

http://mecetes.co.uk/wp-content/uploads/2014/07/Jones-Higson-UK-European-Film-Co-productions.pdf

Cite this

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title = "UK/European Co-productions: A Model for Creativity (version I)",

abstract = "Since the late 1980s European policymakers have developed schemes to encourage co-productions between European states (e.g. MEDIA, Eurimages). Yet, as with other policies designed to foster European cooperation, UK involvement has been somewhat ambivalent. On the one hand, Britain is a signatory to the European Convention on Cinematographic Co-production. On the other, it withdrew from the Eurimages programme in 1996. Most UK co-productions involve US partners. This paper examines some recent examples of UK-led co-productions with other European countries. It investigates the different kinds of European co-productions UK filmmakers have been involved with, how well these films travel abroad, and how they are consumed by audiences in different countries. It also briefly considers the way in which these films represent other Europeans, drawing on examples such as Tinker Tailor Solider Spy (2011). The paper aims to provide insight into the creative possibilities of UK co-production with the rest of Europe.",

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AU - Higson, Andrew Douglas

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AB - Since the late 1980s European policymakers have developed schemes to encourage co-productions between European states (e.g. MEDIA, Eurimages). Yet, as with other policies designed to foster European cooperation, UK involvement has been somewhat ambivalent. On the one hand, Britain is a signatory to the European Convention on Cinematographic Co-production. On the other, it withdrew from the Eurimages programme in 1996. Most UK co-productions involve US partners. This paper examines some recent examples of UK-led co-productions with other European countries. It investigates the different kinds of European co-productions UK filmmakers have been involved with, how well these films travel abroad, and how they are consumed by audiences in different countries. It also briefly considers the way in which these films represent other Europeans, drawing on examples such as Tinker Tailor Solider Spy (2011). The paper aims to provide insight into the creative possibilities of UK co-production with the rest of Europe.

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